fright night

If you re­ally, re­ally hate sleep, here’s what you need to watch


Car­ni­val of Souls (1962) Af­ter sur­viv­ing an ac­ci­dent that had killed her two friends, Mary Henry takes on a job as a church or­gan­ist and tries to get on with

her life. How­ever, this is made dif­fi­cult by fre­quent run-ins with a mys­te­ri­ous man and an aban­doned car­ni­val. Night­mar­ish im­agery

make this a true hor­ror clas­sic. – F.E.

Salo or the 120 Days of Sodom (1975)

This bleak and con­tro­ver­sial film is a trans­po­si­tion of the clas­sic Mar­quis de Sade novel to WW2-era Italy. In this adap­ta­tion,

four hosts – the duke, the pres­i­dent, the mag­is­trate, and the bishop - ex­press their de­sires in the form of sex­ual per­ver­sions like co­prophilia, necrophilia, and the tor­ture of the

young men and women. – N.P. Rose­mary’s Baby (1968) Rose­mary’s Baby is a brood­ing, macabre film

that fol­lows a cou­ple as they go through a preg­nancy. What is chill­ing about this movie is that the di­rec­tor gives the au­di­ence a great deal of in­for­ma­tion early on. By the half­way mark, you know who Rose­mary’s baby re­ally is, but that hardly mat­ters since we are un­able

to help her. – N.P.

The Wicker Man (1973)

We meet Sgt. Neil Howie, a re­li­gious po­lice­man who in­ves­ti­gates the a child’s dis­ap­pear­ance in the fic­tional is­land of Sum­mer­sisle. He then dis­cov­ers that he plays a cen­tral part in a per­verse May Day pa­rade. It’s an un­nerv­ing kind of hor­ror, which, in the era of cheap thrills, is worth a re­visit. – N.P. Fi­nal Des­ti­na­tion 3 (2006) Bus driv­ers and con­duc­tors here have a fucked-up taste in in-ride movies. Some of them will oc­ca­sion­ally pop in a hor­ror DVD in the bus player, and some of them will have the

gall to show you a Fi­nal Des­ti­na­tion movie. The first four movies in the fran­chise are good watches, but the third made me for­ever wary

when­ever I’m in a gym. – R.M. It Fol­lows (2015) Teenager Jay sleeps with her boyfriend and con­tracts a sex­u­ally trans­mit­ted curse where a supernatural be­ing takes the shape of any per­son to stalk her and end her life. It’s re­ally the sub­tle anachro­nis­tic tech­niques em­ployed

by film­maker David Robert Mitchell— non­de­script subur­bia, clas­sic cars, no cell

phones—that make it so eerie. – F.E. Shut­ter (2004) Asian hor­ror films have al­ways been scarier

than any other cin­ema in the world, but Thai­land might have set the bar high­est with the orig­i­nal Shut­ter. If Shut­ter doesn’t scare you enough to be a good per­son for­ever un­til you

die, you may just have no heart. – R.M. Time Lapse (2014) Three friends find a large con­trap­tion and

dis­cover that it prints Po­laroids show­ing events that will hap­pen the next day. They be­gin to use it to their fi­nan­cial and per­sonal ad­van­tage, but their fu­tures grow more and more grim with each photo. It’s a suc­cess­ful, ma­li­cious com­men­tary on moral­ity and the

pit­falls of con­trol, or lack thereof. – F.E. Eyes With­out a Face (1962) To com­bat his guilt, a sur­geon turned mad kid­naps young women and re­moves their

faces to re­place that of his daugh­ter’s, whose dis­fig­ure­ment was his own do­ing. Jux­ta­po­si­tions of the beau­ti­ful against the macabre are all over the film, a great ex­am­ple of the mad sci­en­tist genre and an at­mo­spheric

por­trayal of moral am­bi­gu­ity. – F.E. Hap­los (1982) The lives of a cou­ple are shaken when the hus­band meets a strange girl at his mother’s grave and en­ters into an un­faith­ful re­la­tion­ship with her. The truth of the sit­u­a­tion is more tragic and com­pli­cated, though. The movie is proof that Philip­pine cin­ema can helm ghost sto­ries

that are bril­liant and have heart. – F.E. Feng Shui (2004) One can ar­gue that the Philip­pine brand has its own unique iden­tity—one that bor­rows from both Western and Eastern in­flu­ences and still some­how man­ages to stamp its own fla­vor. Feng Shui might be the best Filipino hor­ror movie we’ve had in re­cent history, no mat­ter what you think of Kris Aquino. (Won­der

if this ever af­fected bagua sales?) – R.M. Night and Fog (1955) This doc­u­men­tary is a look at the hor­rors that took place in the now aban­doned grounds of the Jewish con­cen­tra­tion camps. Through­out the film, we see mostly empty spa­ces save for the gar­ments and other items that were col­lected from the dead. These scenes sum up to some­thing so hor­ri­fy­ing that we should have

us turn away, but we mustn’t. –N.P.

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